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The Scientific Journal of Humanistic Studies Year 2, no. 2

*Comparative Literature Studies

Alina *imu=

The European *ources o the 5 th Century (omanian 1rose

AbstractThe rise of the Domanian prose dates bac0 to the 1+th century when the !rench and Ferman literary

movements influenced the Domanian society to such an extent that in certain literary wor0s there is a coverlappingN themes, motifs, characters are sometimes almost identical to the European ones. ?ther tithey are opposites, as a means of offering a didactic perspective. Thus, European mar0s of moderni@were adopted by the Domanian people not only in real life, but also in literature, which became a meanspreading the western culture to the eastern one.

Keywords: novel, Domantic influences, mystery, the social frame, vernacular literature

4ince the publishing of the first novel in Domanian, Alecu"s history until the publishing in volume orin maga@ines of Eminescu or Ca deu s prose, there lies a period which has been long forgotten obscure, representing an area of strong convulsion which served to the settling of narrative certainty vis

later on. The Domanian novel, ta0ing into account its outstanding, ample, sometimes rambling construcits objective time, the tint of truthfulness, the impression that it descends& from the street, that it prolonging of life, does not have an authoritative position since the beginning. The writers lacexperience, their sometimes exaggerate enthusiasm, unparalleled with the forms, the mechanisms desito underta0e that enthusiasm led to a Auite difficult assertion of this manner of writing.

?ne of the mains points of contact with Bestern literature is the press. The spreading of foreinewspapers and encyclopedias starts in Domania in the 1 th century, when people read, for example Ne

Hournal encyclopediEue , Ne Hournal litteraire , ercure de -rance , and 5l redattore italiano or Fermannewspapers li0e ie file ende$ost or ffene \eitun . 4ome of these spread the ideas of the !renchDevolution, and, by all means, Europe s progressive opinions. ?f course, the distribution of fore periodicals will be far more freAuent in the 1+th century and later. Therefore, a very important role played by the newspapers and the maga@ines of the time. Jewspapers li0eThe Universe or The Truth

published tens of serial<story columns in order to stir the readers taste for literature and to atsubscribers. This growing process, this commercial fever being in full spring, the selection functioned inway only, to produce sensations, relaxation. The taste for the sensational, for vampires, for the nocturnaelements which attract readers in the beginning, then their taste goes towards the social, love affairs,morali@ation of the human vices. The leaflets published have as themes crimes, 0illings, adulte0idnappings, exoticism, piracy, drowning, fright, terror.

"iterature ta0es its subjects from life, obeys it dutifully. The Domanian novel has two madirections the social and the morals. tefan =a@imir remar0s ecause of the special socioMhcircumstances, the Domanian literature stepped later on the way of moderni@ation, of its connection tBestern European rhythm, of the discovery of some new manners of feeling and expression&. * t=a@imir, 1+9 P

The short story, the shorter short story, the memorialistic prose are well represented in the epoThe short story will offer the starting point for the epic construction, for the character design.

presentation of the social frame will rely on the example of the moral short story and the travel memor* tefan =a@imir 1+9 P# The Domanian novel does not arise from the epic but from the physiol




was in vogue at the European level and thus, by ta0ing up the novels, they ta0e up the human types tofound there. This new species is regarded suspiciously. Domanian writers see the Garisian reality, or thein "ondon through the novels translated and thus a reverse process occurs they start to regard the Domareality as the raw material for the novel. 6s concerns this phenomenon of ta0ing up the novel, we can trefer to it as an assimilation of the new genre&. * tefan =a@imir, 1+9 #

The period between 1 7<1 87 registers a total of 127 novels translated and printed wrepresents almost a fifth of the fictional, philosophical and scientific translations. Jumerous critics triedma0e up a chronological list of the writings recogni@ed until nowadays by the literary history Thu process of recognition is still under way. There is an immense literary material to be analy@ed, tinterpreted and put in its deserved place in the literary history.

Teodor P rgolici remar0s the fact that the notion of the novel itself 0nows several variants, writers using the notions of novel, novella, and story. The Domanian translators start by exposing topinions on the novel in the forewords of their translations. There they express ideas about the morali@didactic function of the novels, the educational role these should have. This preoccupation was determ by the necessity to vanish all the prejudice and erroneous opinions, pretty well rooted in the epoaccording to which reading the novels would be pernicious, would exert a bad influence, resulting incorruption of the readers, especially youth.& *Teodor P rgolici, 1+ - -3<--

The same critic redoes the path of modelling the first Domanian novels as follows the first atteof the Domanian novel, 6lvira or endless love , from 1 3-, which bears on the title page the mentioningnovel composed by $.!. .&, is more than locali@ation, a clumsy adaptation of a foreign novel

unidentified to the present day. 6 second attempt, the historical novel adu 55 from AfumaZi, from 1 3- aswell, is translated by 4. 6ndronic, who mentions in its subtitle, after a supposed original manuscript of!rench teacher uvolet, established in ucharest. 6round 1 39<1 3 , #on Fhica confronts with the diffconstruction of this genre of writing, but fails, leaving only a fragment, Alecu"s history , left un0nown, inmanuscript, better than a century. #on Fhica had as a model the novel GOr_me $aturot a la recherche d"une

position sociale by "ouis Deybaud. 6t the stage of a fragment is also considered the novelThe ysteries ofthe 'eart by ). (og lniceanu, which was partly published in 1 -7 in the oldavian *a8ette . 6lexandruGelimon made another attempt by publishing in 1 - the so<calledThe Thieves and the $il rim , a submediocre writing.

ecause of the lac0 of insufficient objectification, the creation of types will suffer first of Briters had to cope with the lac0 of a unitary aesthetic attitude, their realistic approach being often handwith the help of elementary Domantic schemes. 4uch a talented observer of reality as ). (og lniceanu feindebted to group his characters in contrastive couples, not to mention here olintineanu, P. 6. Irechil the authors of the novels of mystery wherein the antithesis angel<demon was a must<do. Be must alsothe rhetorical pathos of the writers, freAuently passed to the characters, more precisely to those they mesteem&. * tefan =a@imir, 1+9 #

esides the cosmopolitan tendency of rich people and its attempt to fit the western civili@atirhythms, the literature of mid<nineteenth century undertoo0 a sustained critical action, on two leverefuted both the hasty and superficial imitation of the Best, and the provincial insularism in conservatwithout any perspective&. This vacillation between old and new, between the sere and fallen habit andaring innovation, full of power and life, a strong fight between old and new, wherein victory, won wdifficulty, will belong to the last&. *6lecu Dusso, 1+38 2 + The tens of serial<story columns published in the newspapers and maga@ines of the timesustained by 6sachi, Eliade, ari iu, the immense commercial march meant to produce sensatirelaxation, and the existence of the reading rooms were contributing factors to the development of the literature.

The Domanian novel goes as an extension of the short story, be it historical, sentimenmelodramatic, of morals etc. #t is still considered to be a form of adapting, of imitating Domanian realiwe may say a means of conditioning the European Domantic elements, especially !rench, to the realitthe time. )any novels are s0eptically loo0ed upon in the century, as a less serious& means of attracting bourgeoisie, especially women, of populari@ation of some occidental realities, of some behavioural nThey attempt the ta0ing over of the exterior occidental forms and comparing them to Domanian value

fol0lore and history. The novel is seen as playing an educational role, teaching and preparing for life oleast offering a broader perspective, detailed, of the different possible experiences.Caving !rench literature as a model, there appears in Domanian literature the novel of mysteryThe




The mysteries of Fucharest by Feorge aron@i *1 82 W 1 83 ,The mysteries of the omanian $eople by Fr.C. Frandea *1 9+ ,The mysteries of a %a/o/ by 6l. 6lexandrescu *1 + and many other titles. #n order trac0 down the presence of the prose of mysteries *foreign and vernacular we must ta0e into accoseries of factors which contributed to the justification of these in our country. The influences are efficthey can be perceived in the social environment.

The novel of mystery develops as a result of the fame of Eugene 4ue s novel,The ysteries of $aris . Translations are claimed by several translators, that is why we do not 0now for sure who the rtranslator was. 4ue s novel has serious mar0s of realism, scenes from people s lives from various s bac0grounds. The writer s claims to be a reformer of morals, the authority with the role of revealingcondemning contrasts and moral injustice, but not directly, we do not see the writer in the foregroudeclaiming, but indirectly, by creating types and situations with the help of artistic images, of somemorable characters&. *)arian arbu, 1+91 - 4ue s enthusiasm is adopted by Domanian writers, whoas perceptive as possible to 4ue s themes and the typological figures presented by the author.

The novel of mystery in the Domanian literature is not a pure species. #t combines realism romanticism, if we were to identify the polarities of the literary trends to be found in these texts. The heare antithetical good and bad, criminals and victims, the secondary ones either go towards one oextremes, serving the protagonists, or are indifferent. The novel of mystery discovers the grand city,

its un0nown social themes. ut the city in those times had a different loo0, sometimes being identical wits centre or downtown. 6nyway, by discovering the city, the vicissitudes of its existence W seen at the lof institutions, individuals, relations, the novel of mystery imposes a different behaviour to the characterrevolted and a different vision on the new society which is loo0ing for its profile& )arian arbu remar*)arian arbu, 1+91 - <8

The !rench novel was a point of enormous perceptiveness on the agenda of the Domanian writeThey even created a philo<!rench movement, of !rench prose support, which was for them a model of idand artistry. )ihail (og lniceanu himself, although pleaded for an original prose, ta0es the !rench prose aa model in his attempt of a novelThe ysteries of the 'eart form 1 -7. erban =ioculescu, by referring to(og lniceanu s novel says that through the moral profile of the female characters, the authors proves tributary to the popular novel, with its demonical or angelic heroines, in an artificial symmetry of contrmen themselves are built up with antithetical features, to fully represent moral purity or corruption&. *)ihail(og lniceanu, 1+89 33 Thus some critics find as the source of the beginnings of Domanian literatu popular novel, so much evo0ed in literary environments.The ysteries of the 'eart is rather a fresco of themid<century society, wherein we can note some portraits %Jok The woman, in my lexicon, means a being, frail, beautiful, born out of flowers, of harmony and the rays of the rainbow, capricious, someti bad, good most of the times, a being made for love, meant to put chains to the fiercest heroes, who, fsmile ma0es you sell your life from this world, and the part of Ceaven from the other world, who has a which understands all that is beautiful, who, for the tiniest thing sometimes cries and other times is capto sacrifice her life, who is wise to perform the grand deeds, who is either gentle as a turtle or enraged lion, who is either cruel or pitifulN the woman is a mixture of grace, 0indness, meanness, spirit, coAwea0ness and strength, whose most part of life limits to loving and being loved.& *)ihail (og lnicea1+89 2

The so called novel A omanian Fohemian by Ganta@i Fhica, published in 1 87, starts by theoretical exposition of the novel s problems. #n its third part, there are digressions li0eThe author"sreflections , where he as0s himself %Bhat is a novel #s it a fiction of the spirit, a phantasm ofimagination, a love dream, a seAuence of untrue and unattainable happenings & Ganta@i Fhica maintimportance of reality as a literary source, of autobiographical elements, of the state of Domanian socwhich becomes material for the novel. Ce does not deny the fact that in his novel he re<presents someaspects, which determine the historical value of a wor0. #ts aim is this, to reflect the reality in the novelwith artistic means. Ce does not oppose the role of imagination, he does not reject fiction. %The noveevery author is an episode of something he 0nows, is happiness wanted and tasted, a positive and pracrealityN a novel is always the painting of society, a critiAue of evil, vice, prejudices everybody has or ha part of his consecrated existence as a novel.& *Ganta@i Fhica, 1 87 12

Ganta@i Fhica rejects Domanticism and approves of the realistic school, viewing reality as not

what exists, but %what could exist&. %#n prose, as in verse, healthy thin0ing is necessary first and fothen reason and logicN there are also necessary correct sentences, appropriate terms, principles of moand a truthful and energetic expression, there is undoubtedly harmony the harmony of language, style




the study of life, in order for it to be li0e this and to reach such results, it must necessarily be presentecolours, shapes and aspects which are li0ed, which touch, fix attention, move the soul, tal0 to the heart mthan to intelligence and inspire feelings of compassion, love, admiration for all that is high, sublime noble&. *Ganta@i Fhica, 1 87 1 2

6bout him, = linescu used to say that he wrote %many short stories which display the lac0 of ta

replaced by personal distinction& and the novel A omanian Fohemian is %a transvestite autobiography&(The 'istory of omanian Niterature, 1+8 9-7 Jevertheless, beyond all the episodes that are more or leta0en fro the author s life, there is in Ganta@i Fhica a fascination that the heroes exert, which are typDomantic. The episode of Gaul s student life in Garis is memorable. Bith his classmates, he inve pawnage system for the clothes, which implied that the three young men were supposed to wear the cloin turns. They are in the care of %the Fod of students&, going, in their short interme@@os of richnestheatre, the bal, the gardens, until the suburbs of Garis, when they were poor, at the singing cafVs or oavenues to wal0 and eat. 4tarting from what reality offered he creates out of compositional needs, cerartistic elements which after all, are Domantic.

#n a different writing of Fhica s,The *reat Treasurer C[ndescu , the historical theme is treated, with%demonical melodramatic heroes& li0e $inc 4 rbul, %a cunning sna0e, a crawling being.& *The 'istory of

omanian Niterature, 1+8 9-1 The Domantic heroes are dominated by polarities, angels and demons

themes are Domantic too, but as for the artistic construction, = linescu says that the author %dispanarration in a chronological style&. *The 'istory of omanian Niterature, 1+8 9-16nother prose writer, #oan ). ujoreanu is very preoccupied with the public s interest for the nov

and starts to write for that. Ce translates from Gaul de (oc0, and has a first vision on this species of epical genre. Ce starts a dispute with F. aron@i, with whom he had started to publishThe ysteries of

Fucharest , and publishes himselfThe ysteries from Fucharest .#n the foreword, the author mentions %the foreground is a romance surrounded by all sor

fictional scenes to whip vice, which scenes would have passed in a different epoch of our social pa* ujoreanu, 1+ 3 2-1 There is a remar0able idea mentioned here %the style is that of the people speaThrough this, the author grants a particular force to the characters, somehow leaving them in the foregro beyond the author s role. %The compositional imaginativeness freAuently uses the surprise elemenreader s attention being captured through the newness of the situations. There are also used coincidewith complicated follow<ups, travesties, the resolutions through coup de theatre&. *Teodor P rgolici,1+ - -

Feorge aron@i has another writing,The 2orkers of the State , which describes in satirical touchesaspects from the life of the Domanian society in the second half of the 1+th c. The main character is a cler0,?nori, statistical rapporteur at the prefecture, who, being subject to mercantile plots loses his job whenfamily was going through difficult moments. eing forced to ta0e care of his family, ?nori desperatsee0s for a position. 4ocial injustice was the state of facts of the administrative system. The novel focuseattention on the critiAue of the social system.

Be find opinions about the novel in the wor0 published in the serial<story columns in the newspacalledThe 5ndependence in 1 81 that isThe on Guans from Fucharest , granted to Dadu #onescu. Theauthor sees the novel as a way of depicting human feelings, social vices and the historical past. %The can ta0e all forms, it can tell up everything, it can describe everything. The grand facts of history, the strfeelings of the soul, life s habits, the novel has it all, it expresses all&. *Dadu #onescu, 1+93 29+search for the development of life in the study of historical facts, others in the analyses of the human hand yet others in observing habits. These three forms complete one another and form the history of the esociety.& 4o, the novel is an all<powerful genre and is a source of life and about life.

6 dreamer through his structure as a poet, olintineanu illustrates the airy side of the Domanmovement. Cis novels, written in the spirit of the age, freAuently present that indescribable lyric part wis not objectified in narration through an accentuated movement& says the same )arian arbu. *)ari

arbu, 1+91 - <8 The critic reminds us the resemblance between anoil and .oun 2erther"s sufferin by Foethe and the sentimental novel of the end of the 1th c. olintineanu s novel anoil , published inThe Niterary omania in 1 --, and is considered by Jicolae )anolescu to be the first epistolary novel inDomanian literature. #t is a novel with sentimental theme, built around the destiny of a young man

embodiment of the Domantic hero, a poet, ta0en over by melancholy and sentimentalism. The novel several attempts of printing and 0new a rather difficult burst on the literary mar0et. Feorge 4ion wante publish the novel and even supported it through an article, anuel or The -all and ise of an Throu h




still un0nown in our literature, unless through translations. 4everal novels, good or bad, we ve had transso far, but these help us ma0e an idea about the habits, the inurements, the life and history of other peoBe need a national novelN an original writing to have before our eyes the Domanian society as it is,which, rejoicing in forming our minds and ta0e us through examples of vices away from what we imagin be fallen.& This deficiency is fulfilled by $. olintineanu, the poet who often delighted us with his beau

verse. The boo0 will be published in a nice format, on wove board, in the Domanian<!rench print shop.6ndrei odiu spea0s about the theatrical nature of the epic through punctuation as a distinctionoriginality. The critic notes The theatric nature of the epic must be understood in a double way. #t isinvoluntarily, as a means of hybridism of epic and dramatic, but it is also a form of character dissimulatwho plays awarely&. *6ndrei odiu, 2772 28

The Domantic characters in the Domanian prose derive from history, the real world, where author lives, or from imagination, a taboo land, the laws of which are not entirely 0nown. They start fromimaginary characteristic of every writer, or, sometimes, from a collective Domanian imaginary, and are mor less tooled in an original manner. The Domantic century is also the century of experimentatiinnovation, and this thing is visible as concerns the character. There is a polymorphism of the characmanifestations in the whole Domantic literature. This polymorphism starts maybe, at a certain moment, the identitary uncertainty which the Domanian people confronted along centuries. The prevalence of im

is typical Domantic, and it is to be found in the Domanian prose at the level of character description, presentation in their exterior data. 4ometimes, the characters are endowed with s0etches, there beingemphasis on the detail of clothing, hair style, and gestures, the emotional involvement, and the sentimetribulations are visible at the exterior.

%#n the Domantic novels, the characters are freed from the schematics and the conventionalisclassicism, they are picturesAue, dramatic, and alive, and they have individual traits and dist physiognomies, unforgettable, with their particularities, tics, fads and obsessions&. *Teodor P rgolici, 18

The character is tightly connected with the paradigms which order a society, the genealogy of character is double internal, within the wor0, and external, in the environment wherefrom it lives

%#n the Domantic novel, globally loo0ed upon, there are new types, vigorous individualities, tor grotesAue, stormy or anxious, seraphic or diabolic, melancholic or enthusiast, solitary or integratecollective movement, with a hori@on limited to his own feelings or animated by major ideals of the pomasses. The dialogue is dynamic, spontaneous and natural, sprin0led with familiarities and triexpressions. The heroes escape from the constraint of narration and from the author s trust, they start lithrough themselves, they have their own life, independent from the will of those who created them&. *TeodorP rgolici, 1+ - 18

Be can thus delineate an intermingling of the European elements and the vernacular ones in tDomantic prose. Be do not deal with well<delineated borders, with anchorage in one of the extremes. Tare, undoubtedly, well<0nown adaptations, but we can also identify elements of originality, imaginativeand artistic craftsmanship.

&ibliography

?$#I, 6ndrei *2772 , Seven Themes of the mid3:th Century %ovel , Gte ti Garalela 3- *#nDomanian

IS?DE6JI, #oan *1+ 3 ,The ysteries of Fucharest , ucharest )inerva *#n Domanian=6Q#)#D, tefan *1+9 ,The $ioneers of the omanian %ovel , ucharest )inerva *#n Domanian$#)6, 6l., =C# #)#6, #. =., =?DJE6, Gaul, T?$?D6J, Eugen *1+8 ,The 'istory of

omanian Niterature, The Second olume, -rom The 2estern School to Gunimea , ucharest 6cademiaDom n . *#n Domanian

FC#=6, Ganta@i *1 87 , A omanian Fohemian , ucharest The Jational Sournal s. *#n Domanian#?JE4=I, Dadu *1+93 , istin uished 2ritin s , ucharest )inerva *#n Domanian(?F "J#=E6JI, )ihail *1+89 , 2ritin s , ucharest Tineretului. *#n DomanianDI44?, 6lecu *1+38 , 2ritin s . =ommented Domanian =lassics, =raiova, The second edition. *#

DomanianP DF?"#=#, Teodor *1+ - , Aspects of the omanian %ovel in the 3: th Century , Eminescu. *#nDomanian



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